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Rectangular Shawl designed by Joji Locatelli in 2017, 5 balls of 4ply or fingering wool (1) Sublime Yarns Baby Cashmere merino silk in Gooseberry, (2) Cascade Yarns Heritage Silk in Sunflower, (3) Fibreworks 4ply in Nardoo, (4) Bendigo Wools Luxury 4ply in Ruby and finally (5) Great Southern Yarns 4ply in Elisabeth Cummings. Knitted by me. Cast on June 2018. Work in Progress.
When I found the grates located here, they were latitudinal wheelsuckers. I called them in, and they were replaced with (W)rectangular Roulettes. Although they are safer than the original grates, they still have open gaps which can trap a wheel.
This rectangular palace with an arched entrance was built in indo-saracenic style. Its interior is marked by arches joining both walls and supporting the ceiling. This edifice was said to be raised by Shitab Khan, whose lengthy record dated 1504 AD found near the southern torana attributes him to Hindu orign.
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Shitab Khan (late 15th century-early 16th century), also spelled Chitapu Khan, was born Sitapathi Raju in the Telangana, South India. He was from a Hindu family of cow-herders of the Boya community, then considered "low caste". He joined as a foot soldier in the army of Humayun Shah the Bahmani Sultan, and rose up the ranks to acquire senior captaincy, his own jagir (a land fief) and the title 'Shitab Khan'. He always used the title in his inscriptions but never actually converted to Islam.
THE KINGDOM
The entire telugu speaking areas which now form the state of Andhra Pradesh (an area greater than the size of France) were united and saw an efflorescence of all the arts, culture and military might under the rule of the Kakatiya Emperors. They finally fell in 1323 to the invading forces of the Delhi Sultan, Mohammad bin Tughlaq, whose Deccan (southern) governor Alauddin Bahman Shah eventually rebelled in 1347 setting up the independent Bahmani kingdom ruling from Gulbarga. His dominions extended up to Golconda in the east. Meanwhile, further south, the mighty Vijayanagar empire had arisen from the Kampili-Hampi region, taking over much of what is now the Rayalaseema region of Andhra. In the far east, the rulers of Orissa occupied telugu lands up to the banks of the Godavari and by the mid-15th century the powerful Gajapatis had replaced the Ganga dynasty. At the central core of the erstwhile Kakatiya empire the chieftaincies of Rachakonda in north Telangana and Devarakonda in south Telangana took shape, ruled by Padmanayaka (Velama)dynasties. From the Addanki-Kondaveedu region in modern Guntur district, a kingdom was formed by a Reddy dynasty. The three telugu kingdoms of Rachakonda, Devarakonda and Kondaveedu, therefore, were boxed in by the three major powers and led a precarious existence for about a century with frequent internecine quarrels, alliances and counter-alliances with one or the other of the major powers. All three ceased to exist by the mid-15th century, Rachakonda and Devarakonda absorbed into the Bahmani and Kondaveedu into the Gajapati kingdoms. Rachakonda was unique that in spite of its small size and frequent tensions, telugu literature received major patronage and flourished. Most famous was Sarvajna Singha Bhoopala III of the Recherla clan, the last king of Rachakonda, who patronized both Bammera Pothana and Srinatha - legendary telugu poets. By Shitab Khan's time the Bahmanis had recently acquired this important buffer state on their eastern frontiers.
From 1480 to 1485, Shitab Khan was the governor of Rachakonda (near Narayanpur in modern Nalgonda district, Andhra Pradesh). He seems to have taken advantage of the internal turmoils of the Bahmanis and declared his independence in 1503, ruling from the Rachakonda, Warangal and Khammam forts from 1503 to 1512. He appears to have been very popular and inscriptional evidence suggests that he undertook many public works including repairing irrigation tanks and reinstating ruined temples. His stated purpose was to re-instate the great glory of the bygone Kakatiya times. A 16x38x12 m building in fine Indo-Saracenic style still stands in the old Warangal Fort, called Kush Mahal or Shitab Khan Palace. He had the Pakhala tank repaired which still serves many farmlands in the area and is now a picturesque tourist spot. He was also a patron of literature and Telugu poetry continued to flourish in his time. His prime minister, Enumulapalli Peddanna mantri, was the patron of Charigonda Dharmanna who wrote the Chitra Bharatam, a classic of Telugu poetry. Rich descriptions of his rule are in this work.
In the turbulent regional politics of the time, Quli Qutb Shah ruler of Golconda Fort (in modern Hyderabad) was asserting his dominance and Shitab Khan had to face invasions from Golconda which was just shaking off the suzerainty of the Bahmanis. Warangal succumbed to the Golconda ruler and Shitab Khan had to flee, about 1512. He joined the service of Prataparudra Gajapati, King of Kalinga (Orissa). When the legendary Vijayanagar Emperor Sri Krishnadevaraya went on his Kalinga campaign, 1516–1517, his triumphal progress was effectively hindered by the archers of Shitab Khan at the mountain pass near Simhadri (modern Visakhapatnam district). But Shitab lost the battle and, very likely, his life there.
WIKIPEDIA
Edifici de tres nivells d'alçada (pb + 2p) integrat en el conjunt de construccions que conformen l'anomenat Maricel de Terra. Destaca l'asimetria de la façana i el tractament dels brancals i les llindes de les obertures rectangulars visibles en la planta baixa i en el primer pis. Cal fer menció, també, de la portalada d'accés a l'edifici, conformada per un arc de mig punt adovellat que mostra, sobre la clau, una rajola en la que consta la data de 1699. Del pis principal, l'element més significatiu és el balcó corregut, que presenta volada de rajoles policromes amb perfil i grapes metàl·liques i barana de ferro de fundició. En el darrer nivell quatre arcs de mig punt configuren una mena de galeria o solana.
La façana mostra en la seva banda esquerra un plafó rectangular de rajoles, de temàtica religiosa i entre les obertures una petita placa commemorativa del concurs anual de clavells; de la mateixa manera, en el pis principal és visible una peça rodona de ceràmica blanca i blava amb decoració figurativa. El frontis apareix coronat per un ràfec de ceràmica, probablement fals però molt elaborat i, en l'extrem dret del terrat, s'identifica un torre de planta rectangular amb petites finestres de doble esqueixada i coberta de teules a quatre vessants.
Observacions: Segons els Pla Especial de Protecció del Patrimoni Arquitectònic i Catàleg del Municipi de Sitges, aquest edifici disposa del tipus de protecció I. Forma part del Conjunt 2, que inclou dues illes integrades en la seva pràctica totalitat per cinc dels edificis més singular del casc històric de la vila, com el propi Maricel de Terra.
Històricament, l'origen del conjunt d'edificacions de Maricel es remunta al període medieval i, més concretament, a la construcció de l'Hospital de Sant Joan Baptista per part de Bernat de Fonollar, amb anterioritat a l'any 1326. Aquesta institució, bastida sobre les roques del mar, ja havia experimentat una ampliació en el decurs del segle XIX. El 3 d'abril de 1910, Mr. Deering va adquirir la primera propietat en aquesta zona, concretament diverses cases de pescadors de construcció molt modesta; posteriorment va ampliar les seves possessions amb altres cases de l'antic hospital, amb l'objectiu de construir una residència-museu. L'any 1911 Deering ja havia obtingut la llicència d'obres municipal i va encarregar els treballs a l'enginyer Miquel Utrillo. La zona que avui correspon a Maricel de Mar va ser, doncs, la primera en construir-se com a residència del propietari, sobre l'antic hospital medieval, del qual es conserven els arcs gòtics de la capella. Avui alberga el museu Pérez-Rosales.
El 18 d'octubre de 1915 va ser inaugurat el gran saló de Maricel (tot coincidint amb la data de construcció de la casa Utrillo). L'any 1921 Deering va ser objecte de diversos actes d'homenatge i agraïment per part del consistori de Sitges; no obstant això, va abandonar la vila aquell mateix any, emportant-se les obres d'art que contenia la casa-palau de Maricel. L'any 1935 l'Ajuntament de Sitges va llogar el palau i el 14 de juny de 1936 va instal·lar el museu i una biblioteca. L'adquisició per part de l'entitat municipal no es va produir fins l'any 1955, cedint posteriorment una part de la finca a la Diputació de Barcelona.
François Boucher - French, 1703 - 1770
The Love Letter, 1750
West Building, Main Floor — Gallery 55
Two pale-skinned women sit together surrounded by five sheep and a dog in a lush forest in this vertical painting. The woman to our right sits slightly above the other, with her arm draped around the shoulders of her companion. The woman to our right wears a low-cut, rose-pink dress with a full skirt and voluminous, gossamer sleeves. Blond curls are pulled back behind a headband, which is adorned over one ear with three large, pink flowers and smaller yellow and blue flowers. She tips her head to our right as she gazes down to her left at her friend. She has blue eyes, flushed cheeks, a delicate nose, and her grapefruit-pink lips curl in a gentle smile. She crosses one knee over the other and leans toward the other woman. Tucked into her side, the second woman looks up at the first in profile facing our right. Her low-cut, lavender-purple dress has a gold shimmer that suggests silk. Her ash-brown curls are pulled back and decorated with small sea-blue flowers. One toe peeks out from her long skirt, and both women are barefoot. The woman in purple holds a white dove on her friend’s lap, and the woman in pink holds a small envelope closed with a shell-pink seal next to the bird. The dove’s wings are slightly outspread, and a blue ribbon is tied around its neck. Just behind the pair, a towering tree with a silvery-gray trunk grows up and off the top edge of the painting. It angles to our left, and green branches hang down into the picture. To our right of the tree, a rectangular sand-brown stone structure is topped with a male lion carved from the same stone, near the upper right corner. The ground beneath the women is covered with moss-green growth and the space around them filled with verdant bushes and plants. A single, cream-colored sheep stands to our right, facing the women, next to a basket of flowers near the lower right corner. Four more sheep stand and lie together beyond the women to our left, while a black-bodied hound with a white muzzle sits watching the women. A pile of broken branches, perhaps forming a fence, lies behind the sheep. Grassy hills and trees become hazy in the distance beyond, and the sky above is slate blue with a few white and pale pink clouds. The upper and lower right corners and the lower left corner are deep in shade. The artist signed and dated the painting as if he had inscribed the stone in the shadow just below the lion, “f. Boucher 1750.”
The Love Letter — also referred to as The Two Confidantes, The Messenger, The Lovers’ Secret Mail, and, less convincingly, The Beloved Sheep — typifies the pastoral idiom François Boucher had already made his own by the late 1740s. In a lush and verdant garden or wooded countryside, two young women recline at the base of a stone pillar surmounted by a carved lion.[1] One ties an envelope around the neck of a pigeon with a blue ribbon while looking with admiration at her companion. The sheep that lounge about and the dog standing sentry tell us that these are shepherdesses, but like many such characters of Boucher’s they pay little attention to their responsibilities, preferring to idle the day away gathering flowers in a straw basket and sending missives via carrier pigeon. Boucher never concerned himself with the verities of country life, but employed the shepherdess type as an idealized and voluptuous protagonist for his decorative pictures. In this example he lavished his brush on the women’s satin dresses, their powdery skin, and the casual perfection of their hair. Despite their affectations, they are wholly at ease in their accommodating setting.
The Love Letter originally formed a pair with The Interrupted Sleep, in the Metropolitan Museum of Art, New York [FIG. 1], another pastoral subject that matches the Washington painting in size, composition, and amorous theme.[2] In The Interrupted Sleep a young shepherdess has dozed off and is about to be awakened by a young swain, who sneaks up from behind and tickles her face with a bit of straw.[3] Once again the setting is rich and fertile, enlivened by sheep and a dog; views into the distance balance the compositions. The palette in The Interrupted Sleep is somewhat more somber — one could say more rustic — than that of The Love Letter, particularly in the clothing, tending to pale ochers and brownish reds in the former and bluish purples and pale pinks in the latter. The artist’s exquisite brushwork unites the pair, particularly the delicate glazes that enrich the treatment of the draperies or articulate the petals of the flowers. In each painting Boucher uses a subtle orchestration of the lights and darks to enhance the visual experience, resulting in such lovely passages as the shadow that falls across the face of the woman in The Interrupted Sleep or the soft illumination of the woman’s ankles and toes in The Love Letter.
The two paintings, both signed and dated 1750, were not original compositions but were adapted by Boucher from a monumental tapestry cartoon that he had painted in 1748, probably with the help of studio assistants.[4] The tapestry, called The Fountain of Love, was first woven in 1755 at Beauvais as part of the series Le Noble Pastorale [FIG. 2].[5] One of Boucher’s grandest designs, it weaves together a series of intimate tête-à-têtes played out in a luxuriant landscape. The figures from The Love Letter and The Interrupted Sleep are visible, in reverse, on the right side of the composition, at the foot of a magnificent fountain topped by playful cupids. The picturesque mill at Charenton, which Boucher painted on numerous occasions, is prominent in the left background.
Although they were taken from an earlier project, The Love Letter and its pendant are wholly autograph. They were produced for no less prestigious a client than Jeanne Antoinette Poisson, marquise de Pompadour (1721 – 1764), Louis XV’s maîtresse en titre, undoubtedly the reason Boucher took special care in painting them. The royal provenance is confirmed by the inscription on Jean Ouvrier’s (1725 – 1754) engraving of 1761 after The Love Letter, The Two Confidentes [FIG. 3].[6] When the two paintings were exhibited at the Salon of 1753, they were described as overdoors for Pompadour’s residence at Bellevue outside Paris.[7] They are no doubt identical to the works described in situ by Antoine Nicolas Dezallier d’Argenville (1723 – 1796) in his Voyage pittoresque des environs de Paris, published in 1755: “The little room that follows the bedroom of Her Majesty is entirely paneled. The moldings are carved with garlands of flowers, which have been naturalistically painted; and in the middle of the panels are cartouches where we see various childhood activities. There are two pastorals, by M. Boucher, over the doors.”[8]
Although d’Argenville’s account of the paintings is vague (even if he took care to relate the details of the room’s decoration), we can be confident that they are the canvases now in Washington and New York based on descriptions made when they were exhibited in Paris and on measurements recorded later.[9] As their dates indicate, the pictures were produced in 1750, but their inclusion at the Salon of 1753 presupposes that they were not installed at Bellevue until sometime after the exhibition closed. While the château was dedicated in November 1750, work on the interior continued until 1754.[10] Examination of the surfaces of the canvases suggests that the compositions were framed as ovals in boiseries.[11] In any event, the paintings did not remain for long in the paneling of Bellevue. They very likely were removed around 1757, when the château was ceded to the king’s daughters and much of its contents were emptied.[12] They are next recorded in 1764 in the vestibule on the ground floor of the Hôtel d’Évreux (now the Palais de l’Élysée), Pompadour’s Parisian residence. An inventory of the marquise’s effects drawn up in 1764 following her death described them in that location, along with other paintings from Bellevue.[13] Eighteen years later they resurfaced in the sale of the marquis de Ménars et de Marigny (1727 – 1781), Pompadour’s brother, who had inherited the bulk of her estate. The National Gallery of Art’s painting is described in sufficient detail that we can be certain of the identification: “Two young women are seated on the grass, attaching a letter to the neck of a dove. They are surrounded by a number of sheep and a dog in front of a pleasing and picturesque landscape.”[14]
Pompadour’s enthusiasm for Boucher is well established, and Bellevue was the setting for several of his most impressive productions.[15] Besides the overdoors described here, Boucher painted two scintillating pictures of Venus for the appartement des bains, The Toilet of Venus (New York, Metropolitan Museum of Art) and The Bath of Venus;[16] what is probably the artist’s most celebrated religious picture, the so-called Lumière du monde (Lyon, Musée des Beaux-Arts), for the chapel;[17] and the pendant masterpieces The Rising of the Sun and The Setting of the Sun (London, Wallace Collection), woven at Beauvais.[18] Thus in the mid-1750s visitors to Bellevue could enjoy an extraordinary survey of Boucher’s art in several genres, including mythologies, a devotional painting, and the category most closely identified with his hand, the pastoral.
The latter genre was perhaps most amenable to the function of Bellevue, with its striking site overlooking the Seine and its luxuriant and intimate gardens.[19] According to Pompadour, “It’s a delightful site for the view, and the house, while not very large, is accommodating and charming, and not without a sort of magnificence.”[20] The château, the only residence built for the marquise from the ground up, had been designed as a retreat for her and the king, although soon after its completion, their relationship had changed from carnal to platonic.[21] At Bellevue in 1751 Madame de Pompadour played the role of the male lead, Colin, in a production of Jean François Marmontel’s (1723 – 1799) pastoral operetta Le Devin du village.[22] The influence of the literary pastoral was not lost on commentators who admired The Love Letter and The Interrupted Sleep at the Salon of 1753. The abbé Leblanc noted that Boucher had virtually invented the pastoral subject in painting, just as Fontenelle had brought new life to pastoral imagery in literature: “The Eclogues of M. de Fontenelle have enriched our pastorals with a new kind of shepherd, notable for the gallantry and delicacy of their sentiments. Those that M. Boucher has introduced into painting join all the merits of the former with a precious simplicity and naiveté that are not always those of M. de Fontenelle.”[23]
In the 1740s and 1750s Boucher was one of the most prolific painters of pastoral decorations, and his overdoor panels were often treated in pairs or series intended to represent allegories such as the Times of Day or the Four Seasons.[24] The Washington and New York canvases represent an innovative solution to relating decorative paintings, for here Boucher sought to create a narrative link between them, fanciful though it may be, centered on the developing love of a shepherd and a shepherdess. As the Goncourts observed, “Rustic life at [Boucher’s] touch became an ingenious romance of nature.”[25] In The Interrupted Sleep the youth teases the object of his affections as he tries to win her over; in The Love Letter we see the later stage of a relationship, where a young woman confides in her friend, who encourages her to send what is undoubtedly a love letter. This “narrative,” such as it is, is understated, for we cannot even be sure if we are meant to believe it is the same shepherdess in each painting; her clothes have changed and she is accompanied by a different dog. Boucher continued this strategy in later works, such as the pastoral paintings made for Madame Geoffrin and exhibited at the Salon of 1765.[26] By then, however, he had tired the patience of his critics, who grew increasingly frustrated with his candy-box representations of a dreamlike peasant life.[27] When he painted the present canvases in 1750, however, Boucher still could be credited with offering something new, even if the subject of the pastoral could be traced to artists of an earlier generation, such as Nicolas Lancret and Antoine Watteau.[28] In its review of the 1753 Salon, for example, the Mercure de France noted that “M. Boucher has continued to delight us by the grace and charm of his compositions . . . in the overdoors made for Bellevûe.”[29] Others expressed similar sentiments: “His two pieces characterize best the author’s lively and cheerful imagination, filled throughout with wit and charm. He has created a genre that is suitable to himself, and we are obliged to admit that he has succeeded admirably at it.”[30]
Boucher’s two compositions must have been popular, for numerous copies are recorded, and the composition of The Love Letter inspired a host of lesser artists and decorators, appearing as an oval tapestry, as decoration on snuffboxes, and in gouaches by Boucher’s son-in-law Pierre Antoine Baudouin (1723 – 1769).[31] Boucher himself — or, more likely, his studio assistants — painted a more upright version, en camaieu rose, supposedly for Madame de Pompadour’s apartments at Versailles [FIG. 4].[32] In a more profound way, these small pictures sparked the imagination of Boucher’s greatest pupil, Jean Honoré Fragonard (French, 1732 - 1806), who employed the older artist’s strategy in a far more ambitious project, painted for Pompadour’s successor as royal mistress, Madame du Barry (1743 – 1793): the celebrated Progress of Love cycle (New York, Frick Collection), in which again a series of amorous episodes link a group of decorative pictures.[33]
This text was previously published in Philip Conisbee et al., French Paintings of the Fifteenth through the Eighteenth Century, The Collections of the National Gallery of Art Systematic Catalogue (Washington, DC, 2009), 12–18.
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The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
..
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
.
Installation by Impact SIgns and Print, Weymouth. For further information please visit our website www.impactsignsandprint.co.uk or call 01305 767633
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thecutelifesmiles.blogspot.com/2013/01/setting-rectangula...
That's their official name.
SEE MORE INFO & PICTURES ON MY WEBSITE: cvillesignal.weebly.com/harrisonburg.html#4
Located near Green River, UT, this Cold War era abandoned military base was a subinstallation of the White Sands Missile Range in NM. This complex was used by the USAF and US Army for rocket testing, firing both the Pershing and Athena missiles fitted with subscale warheads for impact at the New Mexico range.
During it's course of operation from 1964 to 1975, there were 244 missile launches, including 141 launches of the Athena missiles.
The site was built in 1963, and the first Athena launch took place on February 10, 1964. The last Athena was launched in 1971, and in 1975, a Pershing missile was the last that would be launched from this facility. The site became inactive in 1979, and was deactivated in 1983.
With over 11,000 acres of property and 37 buildings still standing(as of a 2014 survey), we barely scratched the surface of all that this place holds in our short time there exploring. An incredible place, and I can't wait to return.
Recent research by the Airfield Research group has revealed that building was nicknamed "Dragon Mountain" by base personnel, Not the often quoted "Magic Mountain" . The first reference to Magic Mountain is in the research notes for the listing of the Building and is in error. The Dragon Mountain name makes more sense as the U2/TR-1 aircraft are nicknamed "The Dragon Lady" and personnel with the 17th RW called themselves "Dragon Keepers"
"The Avionics building, constructed c. 1989 by US Air Force, is a two storey, partly sunken reinforced concrete bunker, rectangular in plan. The building accommodates a drive-through access roadway and is capped with a rough concrete buster cap designed to absorb the impact of a missile before penetrating the bunker's roof.
INTERIOR: The purpose of the avionics building was to service the electronic components of reconnaissance aircraft and process the data retrieved. The interior of the building housed life support systems, stainless steel decontamination rooms, electronics workshops, photographic dark rooms, handling and storage areas. It is protected internally by subterranean 'portcullis' type blast doors on a hydraulic release mechanism. By the main doors are a suite of decontamination rooms and male and female toilets. An internal vehicular decontamination facility is also present. Large rooms on the lower floor housed the computers (now removed) where the data was downloaded and analysed. One of these rooms has a painted motto 'Aircrews live by the knowledge, skill, awareness and integrity of their maintenance people' over the door. A unique feature is the system for maintaining air pressure in the case of attack, by the use of compressed air cylinders on the lower floor, still present. All fixtures and fittings apart from the air cylinders and generators, floor surfaces, wall panelling and doors have been removed.
HISTORY: Land for an airfield at Alconbury was first acquired in 1938 as a satellite landing ground for RAF Upwood and when war broke out, the base was used by Blenheims from RAF Wyton. As part of the US 8th Air Force, it fulfilled a variety of roles until being handed back to the RAF in November 1945. In June 1953, the base was reactivated for the US 3rd Air Force and from 1959, Alconbury assumed its principal Cold War role as the home to various reconnaissance squadrons. In 1983, U2/TR-1 spy planes were permanently based at Alconbury, resulting in the construction of a number of hardened structures including the Avionics building and a number of Hardened Aircraft Shelters which have group value. Following the cessation of the Cold War, flying ceased in March 1995 and the base was released for disposal.
SOURCES. RCHME/English Heritage 'MPP Cold War Survey' 1999. Cocroft, W.D and Thomas, R.J.C 'Cold War, Building for Nuclear Confrontation 1946-1989', English Heritage, 2003.
SUMMARY OF IMPORTANCE: The hardened Avionics building at Alconbury airfield was constructed by the US Air Force in 1989. It is a very rare surviving example of this building type, and along with other buildings from this period, represents the physical manifestation of the global division between capitalism and communism that shaped the history of the late 20th century. The Avionics building is unique amongst the few such buildings in England, because of its size, form and internal survival of the vehicular decontamination unit and compressed air re-pressurising system. It is uniquely associated with the U2/TR1 aircraft, stationed only at Alconbury. As one of the last Cold War structures built in the country, it is the most sophisticated hardened structure remaining and as such has very special architectural and historic interest.
Listing NGR:TL2156676882"
Finger Loop Braiding
Rectangular Braid with Color Swapping Inner Stripe
This is the next Finger Loop Braid for my Finger Loop Braiding Instructable. The video is not up yet (YouTube is down). It will be up as soon as I can upload it. I think I'm going to put these additional braids into a new Instructable so those folks who have already gone through the first one, will see easily that this is a new one.
I'll put the address of that Instructable up as soon as YouTube wakes up and I can publish it.
(the pattern video for this braid is actually already up. I created it out of yarn with really ugly colors and triple strands to bulk it up. I really hated how it looked, and bought some new cords at the Fabric Store to redo it. You can see it here Rectangle braid with color swapping stripe in ugly colors. Or wait for the new one with THESE cords. It will be up ASAP).
Rectangular teapot by English Staffordshire 'Enoch Wood & Sons', c.1818 - 1846. Pearlware blue & white transfer printed white earthenware teapot with lid. Scenes include two men fishing next to a tower in ruin, floral border at top. Lid has stipple background suggesting it may not be original with the piece. Numerous repaired cracks.
Impressed eagle mark, "E.Wood & Sons Burslem" on bottom. 6 3/4" high, 11 1/4" long and 5 1/2 wide.
Donated by Mrs. L.J. Raymond and her brother, 9/19/1968
ACC# 68.1.45 a&b
See other porcelain items in the MHS collection at flic.kr/s/aHskyoEXzH. (Photo credit - Bob Gundersen www.flickr.com/photos/bobphoto51/albums)
Availability: Please allow 4 - 8 weeks for delivery.
Details: Price is for one desk.
Materials: Wood veneer rectangular desk.
Dimensions: W71 x D34 x H30 inches
To purchase this product go to: www.modernfurnitureclassics.com/index.php/main_page/produ...
A close-up of the flowers of another orchid that is easily overlooked in the grassy woodland understory. Very similar to the Slender Onion Orchid (see previous photo in set), there are a few features that differ between the two plants. The most obvious difference is the labellum, which in this species is rectangular, with crinkly margins and a shallow notch at the apex (noted on photo). Commonly known as Common Onion Orchid.
Recent research by the Airfield Research group has revealed that building was nicknamed "Dragon Mountain" by base personnel, Not the often quoted "Magic Mountain" . The first reference to Magic Mountain is in the research notes for the listing of the Building and is in error. The Dragon Mountain name makes more sense as the U2/TR-1 aircraft are nicknamed "The Dragon Lady" and personnel with the 17th RW called themselves "Dragon Keepers"
"The Avionics building, constructed c. 1989 by US Air Force, is a two storey, partly sunken reinforced concrete bunker, rectangular in plan. The building accommodates a drive-through access roadway and is capped with a rough concrete buster cap designed to absorb the impact of a missile before penetrating the bunker's roof.
INTERIOR: The purpose of the avionics building was to service the electronic components of reconnaissance aircraft and process the data retrieved. The interior of the building housed life support systems, stainless steel decontamination rooms, electronics workshops, photographic dark rooms, handling and storage areas. It is protected internally by subterranean 'portcullis' type blast doors on a hydraulic release mechanism. By the main doors are a suite of decontamination rooms and male and female toilets. An internal vehicular decontamination facility is also present. Large rooms on the lower floor housed the computers (now removed) where the data was downloaded and analysed. One of these rooms has a painted motto 'Aircrews live by the knowledge, skill, awareness and integrity of their maintenance people' over the door. A unique feature is the system for maintaining air pressure in the case of attack, by the use of compressed air cylinders on the lower floor, still present. All fixtures and fittings apart from the air cylinders and generators, floor surfaces, wall panelling and doors have been removed.
HISTORY: Land for an airfield at Alconbury was first acquired in 1938 as a satellite landing ground for RAF Upwood and when war broke out, the base was used by Blenheims from RAF Wyton. As part of the US 8th Air Force, it fulfilled a variety of roles until being handed back to the RAF in November 1945. In June 1953, the base was reactivated for the US 3rd Air Force and from 1959, Alconbury assumed its principal Cold War role as the home to various reconnaissance squadrons. In 1983, U2/TR-1 spy planes were permanently based at Alconbury, resulting in the construction of a number of hardened structures including the Avionics building and a number of Hardened Aircraft Shelters which have group value. Following the cessation of the Cold War, flying ceased in March 1995 and the base was released for disposal.
SOURCES. RCHME/English Heritage 'MPP Cold War Survey' 1999. Cocroft, W.D and Thomas, R.J.C 'Cold War, Building for Nuclear Confrontation 1946-1989', English Heritage, 2003.
SUMMARY OF IMPORTANCE: The hardened Avionics building at Alconbury airfield was constructed by the US Air Force in 1989. It is a very rare surviving example of this building type, and along with other buildings from this period, represents the physical manifestation of the global division between capitalism and communism that shaped the history of the late 20th century. The Avionics building is unique amongst the few such buildings in England, because of its size, form and internal survival of the vehicular decontamination unit and compressed air re-pressurising system. It is uniquely associated with the U2/TR1 aircraft, stationed only at Alconbury. As one of the last Cold War structures built in the country, it is the most sophisticated hardened structure remaining and as such has very special architectural and historic interest.
Listing NGR:TL2156676882"
formato rectangular.
Tapas varios colores e interior con hojas bookcell cosidas.
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Se hacen por pedido! Avisanos con tiempo por favor. Cualquier consulta escribinos!
Situated on the Île de la Cité the Roman Catholic cathedral of Notre Dame de Paris was completed in 1345 and is an example of Gothic architecture, characterized partially by its use of the flying buttress (Notre Dame was one of the first buildings in the world to use a flying buttress).
De planta rectangular i una sola nau, consta de 3 registres amb volta de creueria, amb nervis motllurats que reposen en mènsules adossades als murs. L'absis és rectangular amb una obertura apuntada. Té un altre finestral de mig punt al mur sud. Al s. XVI es construí el cor, sostingut per una volta de creueria amb nervadures estelades. També del s. XVI és la capella del baptisteri. Destaca la porta d'accés, lateral, de mig punt i adovellada, amb fines motllures i coberta amb un guardapols coronat amb floró. L'estil evoluciona del cistercenc passant pel gòtic del s. XIV fins al flamíger i gòtic tardà (s. XVI), tot sota influència directa de Poblet. En una de les pedres de fàbrica hi ha l'escut de l'abat Juan Payo (1480-1498). Sobre la portalada gòtica es pot admirar l'escut de l'abat Domènec Porta (1502-1526). Les capelles laterals s'obriren el s. XIX. Campanar de base quadrada amb obertures de mig punt i escala d'accés de cargol. Destaca també el rellotge de sol datat al 1591 i la pica baptismal gòtica, en forma lobulada, de la capella del baptisteri.
Notes històriques:
Construcció gòtica iniciada el 1287. Substituí l'anterior església de Sant Salvador, documentada ja el 1191. Al final del s. XV consta que la parròquia era de col·lació de l'arquebisbe de Tarragona però al s. XVIII apareix com una vicaria perpètua a càrrec de l'abat de Poblet. En temps de l'abat Ponç (1316-48) es construí la part del presbiteri i en temps de l'abat Conill (1438-58) hom hi donà una bona empenta. S'acabà de bastir durant l'abadiat de Domènec Porta (1502-26), amb la porta d'accés i el campanar. El temple fou incendiat el 1936, destruïnt-se el retaule gòtic del Roser. Les campanes del campanar es van salvar d'aquesta destrucció perquè servien de tocs d'alarma. Les restauracions finiren el 1966. A finals del segle XX es va modificar la forma del campanar afegint-hi un emmerletat.
www.diputaciodetarragona.cat/marc/web/diputacio-de-tarrag...
Sculpture by: Prof. Toshio Iezumi
Artist statement: This artwork reflects its surrounding enviornment in multiple reflective films, through the colour of the glass allowing viewers to experience an intriguing vision of depth and space through the mechanism of perception.
Closeup shot of 1 corner of the afghan to show more detail.
Block pattern is from Handcrafting with Love (http://www.handcraftingwithlove.net)
Borj al-Kamra - a rectangular tower built in the 16th century, during the Portuguese occupation of Asilah. Adjacent to the Bab el Bahr gate, the Alqamra Tower is a military tower that once served as a defence point against invasions. This prominent tower was also the residence of the Portuguese governor and the daughter of the King of Portugal.